This is the fifth and final volume of Barenboim’s
survey of the complete piano sonatas of Beethoven on EuroArts. Here
we are offered sonatas 29-32. In April I favourably reviewed volumes
2-4. Volume 1 has, however, eluded me, which is disappointing for
a completist.

Many, including myself, would consider the sonatas featured here to
be the pinnacle of all piano music. Barenboim has the advantage that
he has played these works many times, and has recorded two wonderful
complete cycles with EMI in the 1960s and Deutsche Grammophon in the
1980s. As I said in my review of the other volumes, Beethoven has
played a central role in both his career as a pianist and that of
a conductor. Even at this stage in his career, when these performances
were filmed, he brings to the works great insights. His grasp of the
structure and architecture of this music has been something that has
always attracted me to his playing.

The ‘Hammerklavier’ is the longest work here; indeed it
is the giant amongst the sonatas. Composed 1817-18 and dedicated to
his patron the Archduke Rudolf, the sonata reached a peak in terms
of size and timescale. Any performance of Op.106 will sort out the
men from the boys. Barenboim takes up the challenge admirably with
an account that is technically secure and notable for its visceral
excitement. The slow movement is eloquent and Barenboim’s traversal
of this, the longest movement in the composer’s entire sonata
oeuvre, is spellbinding. Aptly, Paul Bekker the German music critic
described this movement as "the apotheosis of pain, of that
deep sorrow for which there is no remedy, and which finds expression
not in passionate outpourings, but in the immeasurable stillness of
utter woe".

In the last three piano sonatas, Beethoven explores new territory
with works that are intensely personal and more inward-looking that
what has gone before. Barenboim is here truly transcendental and he
approaches each with great spontaneity. They have a freshness and
improvisatory feeling about them and, all the time, he applies his
fierce intellect to realise his vision. The highlight is the sublime
Arietta of Op.111, which he builds up from the simple opening theme,
cumulatively throughout each variation. It’s a fitting conclusion
to a great and noble journey.

What we see and hear was filmed at the Palais Rasumowsky, Vienna,
1983-84. For anyone wanting a visual survey of the complete Beethoven
Piano Sonata cycle these, together with the other volumes, offer compelling
results. At the moment, these 5 DVD volumes are available only separately
(NTSC), or alternatively packaged as a three disc complete set on
Blu-ray (2066424).

Barenboim brings freshness and sensitivity. His expressive powers
are wondrous.